There is a peculiar aesthetic pleasure in constructing the form of a syllabus, or a book of essays, or a course of lectures. Visions and shadows of people and ideas can be arranged and rearranged like stained-glass pieces in a window, or chessmen on a board.
The lesson? To respond to the unexpected and hurtful behavior of others with something more than a wipe of the glasses, to see it as a chance to expand our understanding.
If you ever go behind the glass and look at the focus groups that are deciding what you're gonna watch, it's scary. This cross-section of people they just happen to bring in to decide the fate of mankind on television is really scary.
After the first glass, you see things as you wish they were. After the second, you see things as they are not. Finally, you see things as they really are, and that is the most horrible thing in the world.
An optimist will tell you the glass is half-full; the pessimist, half-empty; and the engineer will tell you the glass is twice the size it needs to be.
They enter, locking themselves in, descend the rugged steps, and are down in the Crypt. The lantern is not wanted, for the moonlight strikes in at the groined windows, bare of glass, the broken frames for which cast patterns on the ground. The heavy pillars which support the roof engender masses of black shade, but between them there are lanes of light.
I'm a positive thinker and actor. I look at a glass; a negative person sees the glass and says: too bad it's half empty... I look at the same glass and say: Hallelujah!! It's half full!!!
Break the glass, please, and free us from all these damned rules, from needing to find an explanation for everything, from doing only what others approve of.
Fool indeed is he, who, living on the banks of the Ganga, digs a little well for water. Fool indeed is the man who, coming to a mine of diamonds, begins to search for glass beads.
People who, out of an inborn moderation, leave every glass standing only half-emptied refuse to admit that everything in the world has its sediments and dregs.
Bog-lights, vapors of mysticism, psychic overtones, soul orgies, wailings among the shadows, weird gnosticisms, veils and tissues of words, gibbering subjectivisms, gropings and maunderings, ontological fantasies ... this is the stuff, the phantasms of hope, that fills your book shelves. Look at them, all the sad wraiths of sad mad men and passionate rebels — your Schopenhauers, your Strindbergs, your Tolstois and Nietzsches. Come. Your glass is empty. Fill and forget.